Compilatie met veel zogenaamde township jive, het soort muziek dat Paul Simon inspireerde tot "Graceland". "Deze compilatie is de eerste in een driedelige serie die 'underground'-muziek uit de jaren 1960 en 1970, afkomstig uit de Zuid-Afrikaanse townships, onder de aandacht brengt. De ondertitel luidt dan ook 'Township sounds from the golden age of mbaqanga'. Mbaqanga is meer in het algemeen bekend als 'township jive' en is een Zulu-woord voor het lokale hoofdbestanddeel van een soort maïsbrood. Onderdeel van het leven dus, goed beschouwd. Deze muziekstijl combineert landelijke Zulu-tradities en harmonieuze samenzang met 'westerse' gitaren, drums en zelfs blazers. De compilatie richt zich voornamelijk op het latere deel van deze periode, toen Mbaqanga op haar hoogtepunt was. Net als andere compilaties van Afrikaanse muziek uit die periode, bevat ook "Next Stop... Soweto" een groot aantal onbekende opnames, die op bijna archeologische wijze aan de vergetelheid zijn ontrukt." (Mixite)
"After the rush of miners to the urban centers of South Africa at the end of the 19th century, some Zulu music, long played on musical bows, was transferred to a new instrument -- guitar. The entertainment usually took place in the single-sex hostels where the miners lived. These tracks were recorded in 1988 and 1996 in Durban, South Africa in such a single-sex hostel. This really is roots music, from the comb and concertina duet of "Kam and Kossetina" to "Gumboot 1996," which is fairly self-explanatory. Guitar plays an understandably major part, with both Albert Nene and Blanket Mkhize offering solos, while more ensemble-oriented pieces like "Gumboot 1993" team guitar with accordion and violin. It's not professional music; these are people playing for recreation, and without thinking carrying on something that's a new tradition. It's fascinating stuff, without a doubt, an insight into something most listeners never even knew existed -- and it's thoroughly enjoyable, too." (Allmusic)
"The second of producer Paul Berliners two volumes of recordings of the mbira (a gourd-resonating thumb piano and a core instrument in Shona culture), this album, from 1977, features the mbira dzavadzimu, one of the five major forms of the instrument, performed in ensemble by one of the countrys preeminent groups, including soloist Hakurotwi Mude." "The mbira dzavadzimu is an important ritual instrument, and its repertory of as many as 100 pieces has been passed down orally from one generation to the next. In the hands of skillful players the mbira can draw spirits down to earth to possess mediums or unsuspecting participants. Listeners find that the music has a powerful effect upon them. While the mbira dzavadzimu may be played as a solo instrument, it is most often used in small ensembles. The mbira ensemble featured on this album is Mhuri yekwaRwizi. Its leader is the distinguished mbira player and singer Hakurotwi Mude. PAUL BERLINER, 1977" (Nonesuch Records)
"SWP Records is proud to present three Zambian legends: the sophisticated group The Big Gold Six featuring the jazzy guitar of Bestin Mwanza, the sweet singer from the province Emmanuel Mulemena, and the cosmopolitan Nashil Pichen Kazembe. We can now finally hear how they sounded. And what we hear are three different great vocal sounds the Big Gold Sixs suave harmonizing and Nashil and Emmanuel as singers were both real personalities and three great guitar sounds. These artists were the most popular of their era and essential to the further development of Zambian popular music. These recordings were made between 1967 and 76. From north to south, Zambia lies geographically between Congo and Zimbabwe, and in many ways musicologically as well. When you think about it that way, Zambian music just has to be interesting! This swinging cd is the follow-up to SWP 027 Zambush Vol. 1 Zambian Hits from the 80s. So once again, put yourself in a dancing frame of mind and let yourself be zambushed." (Womex)
"If you're into country-blues, Mwenda Jean Bosco, or roots in general, this is for you. The remarkable guitarists of the '50s Zambian copper mines were mostly wandering minstrels who roamed from mine to mine, crisscrossing the border between Zambia and Katanga and forming part of a guitar movement that has always been incorrectly credited to East Zaire alone. There's an enormous variety here, from rugged, rootsy stuff to the beginnings of an urban-influenced sound with U.S. and South African as well as Congolese elements." (Allmusic)
Putumayo geeft met dit album een overzicht van de verscheidenheid aan dansmuziek afkomstig van het Afrikaanse continent. Ook laat dit album zien wat de invloed is van Afrikaanse ritmes op wereldwijde dansstromingen zoals funk, r&b en hiphop.
"From north to south, Zambia lies geographically between Congo and Zimbabwe, and in many ways musicologically as well. When you think about it that way, Zambian music just has to be interesting! All three countries produced wonderful but different music played on electric instruments during the eighties, but whereas the styles from Zaire and Zimbabwe are well known in the West, the music produced in Zambia during these years isstill relatively unknown. Musically there is no good reason for this as the wonderful tracks in this compliation show. Zambia had always had a vibrant and diversified music scene and during the eighties yet another new musical era emerged the kalindula years." (Womex)
For struggling musicians during the apartheid era the opportunities to record their music was lure enough. SABCs mobile studio visited every corner of the country recording the whole glorious range of music available. Creating a massive archive of original music that became The African Renaissance catalogue. The ten double CDs contains some of Africas greatest music, and some of the continents greatest musicians. (Wordmusiccentral.org) "Another wonderful volume in the African Renaissance series from the South African Broadcast Company archives, Vol. 6 features an entire disc of tsonga music and another of maskanda (regional styles). Chances are most listeners won't recognize a single artist on this collection; no matter. It's all great South African pop music, devoid of any slick production but filled with that joyous South African spirit. If you're even vaguely interested in undiluted South African music, you can't go wrong with this one." (Allmusic)
"Mbira music is one of the most ancient and popular forms of music found throughout black Africa. Its myriad forms constitute a contribution of unique richness to the worlds music. The mbira has always been essential to traditional Shona culture and its players held in high esteem, providing music not only for entertainment but also for the most important occasions, ranging from the coronation of chiefs to religious ceremonies. Today, while mbira players are professionals by the nature of their commitment and skill, they often have to supplement their income through other vocations. The mbira is an instrument consisting of keys mounted over a bridge on a hardwood sound-board. They are generally played inside large gourd resonators. The gourds shape and amplify the sound of the mbira, and the shells provide a buzzing quality an integral part of the music. A basic rhythmic accompaniment to the mbira is often provided by gourd rattles called hosho. PAUL BERLINER, 1973" (Nonesuch Records)
"One of my all time favorite African roots albums. Very light, airy melodies that I can recall easily to mind. The recording is good quality for the era (originally released in 1971). There is great joy in the voices and the mbira's rhythms are rich. Buy this if you have any interest in traditional africa music. It's hard to find better." "Lovely, early recordings of delicate music played on the "mbira," or Zimbabwean finger piano. With the rise of pop stars such as Stella Chiweshe, this style has since become much grander, more forceful and more tightly arranged, but on this album, originally released in 1971, the style is far looser and enchanting in a different way altogether. This was one of the first albums released in America to feature this style of music, an immensely influential release in terms of the growth of "world music" and interest in African styles. Nice stuff... definitely recommended!" (Amazon)
"The third volume of a series devoted to South African popular music, "Freedom Fire" is a decent exposition of the township jive styles present in the country. Half of the songs feature Mahlathini, the growler, as well as the Mahotella Queens, his eternal teammates in the musical business of Soweto. Electric guitar riffs abound throughout the album, as do harmonized vocal lines. In its most basic form, this music has a driving vocal line (or in the case of instrumentals, an appropriate analog), along with a riffing electric guitar or two and firm drumsticks. The music is deceptively simple, given such a description, but can hold a surprising amount of complexity in the right hands. The stars of South African music (at least of township style) are all on this album: Mahlathini, the Mahotella Queens, guitarist Marks Mankwane. If you're a fan of the genre, pick the album up somewhere; if you're not a fan, it won't hold any special luster." (Adam Greenberg, Allmusic; 4 uit 5 sterren)
De titel is niet erg specifiek, terwijl dat wel had gekund: de CD is namelijk in zijn geheel gewijd aan traditionele Zuid-Afrikaanse koormuziek. Vrijwel de gehele CD is a capella, waarbij we afwisselend een mannenkoor (dat dan dus qua stijl meteen veel op het beroemde Ladysmith Black Mambazo lijkt) en een vrouwenkoor. Alleen het laatste nummer kent een bandbegeleiding, gedomineerd door een 'plastic' klinkende synthesizer.
